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Romance by Schedule 



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TlIF A M A ynWs Farce in Three Acts. Seven ibales, five fe- 
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UI<I UniTCr IM nPnPR comedy in Four Acts. Nine males, 
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TH17 linRRV UnnCF comedy in Three Acts. Ten males, 
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I FTTY I^rama in Four Acts and an Epilogue. Ten males, five 
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Romance by Schedule 

A Comedy in One Act 

For Female Characters Only 



By 
MABEL H. CRANE 



BOSTON 

WALTER H. BAKER & CO. 

1917 






Romance by Schedule 



CHARACTERS 



Nora. 

Ma ME, Nora s c/iiim. 

Sue, ever so romantic. 

Marian. 

Lucy, i/ie pessimist. 

Dorothy. 

Phyllis, not thin. 

Smithy, an elderly teacher. 



Aged fifteen to seventeen. 



COSTUMES 

The girls are all dressed in negligee over nightgowns and wear 
slippers. 

Smithy is dressed in nightgown and wrappei", slippers, hair 
done in Lmall gray pigtails and curlers. 




Copyright, 191 7, uy Walter H. Barer & Co. 

FEB 19 1917 

©CI,D 46172 



SYNOPSIS 

Nora Lee elopes from boarding-school, leaving a note to her 
roommates telling them what she has done, and instructing them 
to look for a "surprise " under her bed, when the clock strikes 
one. They find a box containing a wedding supper, with which 
to celebrate the liappy occasion. In the midst of their feasting and 
festivities, Nora climbs back into the window through which she 
had eloped, and declares matrimony, so far as she is concerned, 
a failure. 

However, it seems that she and Jimmie Simpson, one of the 
" Academy boys," had only effected a very short distance in their 
matrimonial sprint when they met with vicissitudes in a borrowed 
inachine. The delay, the cold, and the thought of her friends 
enjoying tlie good things of her providing, caused Nora to become 
somewliat peevisli over the situation, and she ran home leaving 
Jimmie under the machine. 

Meanwhile the respective parents of both, whose dearest wish it 
has been to secure this very match (which plan has been resent- 
fully regarded by the young people as interfering, and anticipated 
with a view to putting a romantic punch into a cold-blooded 
" schedule ") hear of the escapade, and Nora is obliged to climb 
out of the window again, to be married post haste. 

The other girls, forgetting all caution in their excitement, are 
throwing rice after her, and cheering, when their door opens and 
the head mistress appears on the threshold. The plot merely 
serves as a vehicle with which to illustrate the amusing mental 
attitudes of the various girls. 



Romance by Schedule 



SCENE. — Sleeping-room in girls' boarding-school. Several 
cots at C. back, door at l. back, ivindoid at u. back, bureau 
at R. front, bed at L. front, electric lamp on bureau, litter 
of garments hung on chairs and about the room, pictures 
and pennants, tennis rackets and golf clubs hung about. 
Clock on wall at C. back. 

{All characters on stage except Nora 7vhen curtain rises. 
They are standing in a group around electric lamp, over 
which Mame is holding towel to dim the light. A knock 
at the door is heard. All remain silent. Another kr.ock.') 

Smithy {outside). Young ladies ! Young ladies ! . . . 
I thought 1 heard a noise. . . . {Knocks again.) Young 
ladies . . . are you asleep? 

(Mame gives a loud prolonged snore. Steps are heard re- 
treating down hallway. Girls burst into giggles.) 

Mame. Be quiet, girls . . . she may come back. 
{Turns up light, removing towel. She glances at door cau- 
tiously. Holds a letter in her hand.) Now . . . let's 
sit down here, girls, and I'll read it all over again. 

Ai.L {gathering about her on the floor, and speaking to- 
gether). Oh, dp, Mame. Yes, do ! All right. Here, sit 
here. Yes ... do read it over. 

Sue. Oh ! Isn't it lovely and romantic ! . . . Oh ! 

Mame {reading). "Dear girls ... by the time you 
receive this I shall be far, far away, probably fifteen miles 
maybe. Little you thought what was in my heart 
when I sat with you at dinner to-night. You remember, I 
gave Mame my apple tapioca ? Little you recked before din- 
ner, when I insisted on having my own hair brush, and made 
Sue Wiley give me back my coral chain, that I was about to 
pack for life's journey ! " 

Sue, Isn't that too sweet ! " Life's Journey ! " 

5 



6 ROMANCE BY SCHEDULE 

Lucy. Shut up, . . . Sue. 

Mame. . . . "and now, as you read this, I am far, 
far away ..." 

Lucy. Fifteen miles. 

Mame. . . . " probably a married woman." 

All (together'). Think of it! Say, what do you think? 
Did you ever ? Say, girls ! Nora married ! 

Sue. How peifeclly wonderful ! A married woman ! 

Lucy. The woods are full of them. 

Mame. . . ., "Even as 1 write, I seem to look back, 
years and years ago, to our happy school days together. Our 
basket-ball games . . . our vacations home. Smithy's old 
Latin class . . . she always did make me tired ! . . . 
I see them all. Ere another morning dawns, 1 shall be the 
true wife of an honest man and . . ." 

Lucy. She got that out of Lady Baudly's Secret 1 

Dorothy. Oh, do be quiei, Lou . . . you spoil every- 
thing. 

Mame. . . . "But, in the midst of my preparations for 
my life's journey ..." 

Lucy. She's said that twice ! 

Mame. . . . "1 have thought of you all. I have put 
a little remembrance under Mame's pillow, to be opened the 
last thing before she goes to bed. For the rest of you, there is 
another surprise waiting under my bed. You are not to look 
until the clock strikes one. I trust you will respect this, my 
last wish. I will write you as soon as I find out where my 
husband and I are going to be. A wife's place is by her hus- 
band's side ! " 

Lucy. Especially on a wedding trip ! 

Mame. ..." And you can tell old Smithy in the 
morning. If she found it out before it would be just like her 
to have us chased with bloodhounds, or something. Ever 
the same, your loving, affectionate Nora." Now, did you 
ever? To think that she never even told me, her chum, that 
she was going to elope ! 

Lucy. I suppose she didn't know it herself. He probably 
only asked her to-day. 

Marian. It must be one of the academy boys. For the 
sake of our set 1 do hope it isn't a freshman ! 

Dor. Oh, Nora would, never stoop to a mesalliance. 

Sue {chipping her hands). My ! Isn't it all romantic? 
Just think! Out of that very window. {They all turn and 



ROMAN'CE BY SCHEDULE f. 

look at iviiidow.^ A Idler on the pincushion . . . every- 
thing ! 

Lucy. To my mind, that business of a letter on the pin- 
cushion has been overdone. 

Sue. Who wants to be original if it takes away all senti- 
ment ! You may be a cynical woman of the world, Lucy 
Lane, but just you wait until you 

Phyllis. 1 wonder what's the surprise ? Maybe it's some- 
thing to eat ! 

Mar. Phyllis . . , you are the worst ! Always think- 
ing of something to eat. . . . Yet, if it is, 1 do liope she 
thought of pickles. 

Dor. Goodness . . . it makes me feel creepy . . . 
something under the bed . . . you don't know what ! 

Mar. 1 know what it is ! 1 bet she's left us her clothes. 
I choose the pink crepe. 

Mame. She'd never leave lliat. Girls . . . look at 
the clock . . . time's nearly up ! 

{All wait silently. The clock strikes one. All spring for 
the box under the bed and pnll it into middle of floor. 
They croivd around it and Mame takes out tissue paper.') 

Mar. Maybe it's her old doll . . . she did love that. 

Lucy. Nonsense ! 

Mar. Well, she wouldn't take it on a wedding trip, would 
she ? 

Dor. Or her movie picture collection. 

Mame. She'd never leave that ! Oh, look, girls . . . 
it's a wedding cake . . . and a note. . . . Listen. 
{Opens note.) " Dear girls, if all goes well, my bridegroom 
and 1 will be one. . . ." 

Lucy. I bet it's her. 

Mame. ..." We will be . . ." 

Lucy {groaning). Fifteen miles away ! 

Mame. Now, Lucy ! . . . " We will be in Susanville, 
and you will be eating my wedding supper. I shall be think- 
ing of you all every minute." 

Mar. See here ... a bag of rice ! 

Phyl. Girls ! . . . ginger pop ! 

Mame. Get the tooth-brush mugs, girls . . . hurry ! 

Phyl. There's a whole bottle for each . . . here. 

{Hands them around.) 



/ 



8 ROMANCE BY SCHEDULE 

Mame. Girls . . . stand ! ... To the bride's 
health ! 

(^All drink and reseat themselves.) 

Sue (holding bottle pensively and letting it drip). Poor 
Nora . . . entering the solemn portals of matrimony. 
While we feast in riotous abandon she . 

Lucy. Slaughtered to make a Roman holiday. 

Phyl. And she waiting in some hotel for breakfast time. 

Mame. Of course ... no place in the world is open 
at tliis hour. 1 wonder who the man can be ! She only knows 
Jiuimie Simpson, and he's short, and she said she would never 
marry a short man. She said he simply must be tall and dark 
and devilish . . . and, well, you know Jimmie . 
listen . . . what's that ! 

Dor. Burglars ! 

(Nora's head appears at window.) 

All (together). Nora ! Nora Lee ! Ah ! You back ! 
Nora ! Well ! 

Lucy (sharply). Heavens ! don't bring in your bride- 
groom. We're not dressed for company. 

(Nora clifnbs slowly into room, banging a valise on the 
windotv sill behind her. Her hat is on one ear and she 
looks tired out. She fixes her attention on the spread on 
the floor.) 

Mame. What's the matter ? . 

Phyl. Wasn't he . . . 

Mar. Did you change your mind ? 

Mame. Do tell us all about it. 

Nora (shaking her head sadly). Girls, you will do me a 
kindness if you never refer to the matter again. Is all the cake 
gone ? 

Mame. Why, no . . . heaps left . . . here ! 

(Hands her a great chunk. Nora sits in indifferent atti- 
tude, cheiving vigorously. Silence 7vhile she eats. The 
girls watching her, cofisumed zvith curiosity. She heaves 
a sigh, looks around and finally speaks.) 

Nora. I would just like to remark that matrimony isn't all 
it's cracked up to be. 

Sue. Oh . . . are you married ? 



ROMANCE BY SCHEDULE 9 

Nora. Nearly . . . that is, we nearly got to Susan- 
ville in the machine and then 

All {togethet"). What? Do tell us! Come, do tell us! 
Nora ! Please ! , 

Nora. Oh, nothing. 

Mame. Nora . . . you're awful mean ! 

Nora. Well, the fact is . . . well, we simply quar- 
reled. 

Sue. Quarreled on your wedding trip I 

Nora. It wasn't our wedding trip . . . yet . . . 
but . . . oh, I may as well tell you. . .. . Got any 
more ginger pop? (Mame hands her ginger pop, and she holds 
it in one hand, cake in other, while she tells her story.') You 
see, Jimmie . 

Lucy. What ! Jimmie Simpson ? Why, you said you'd 
never marry a short man, and Jimmie is . . . 

Noka (jnatter-of-/act tone). Yes, 1 know I did. But I don't 
know any tall men . . . anyway, there we were far from 
home and . . . say . . . did old Smithy find out 
anything? 

Mame. No, no . . . go on, you were fourteen miles 
and . 

NouA. No — only one. . . . Say ! When did you get 
my letter ? 

Sue. Oh, do go on . . . what happened ? 

Nora. Well, the machine balked. It stopped suddenly 
wouldn't budge ! It was Jimmie's father's machine 
and Jimmie 

Sue (^excitedly). Did a look of agony pass over his pale 
face and 

Nora. No ... it was dark. . . Well, he got 

under the machine and began to unscrew the whole thing ! I 
told him not to, but he did. He asked me to hold the lantern 
and the monkey-wrench and the oil can, and kept passing out 
little screws and telling me not to lose them, and 1 was afraid 
to lay them on the grass and I put them in my mouth and they 
did taste so of gasolene and it got fearfully cold and Jimmie 
didn't talk and except for his legs sticking out from under the 
machine I was all alone on that dark road 

Sue. We know . . . fourteen miles on " life's jour- 
ney." 

Nora. . . . And suddenly the lantern went out and 
Jimmie found he hadn't any matches and of course I hadn't 



10 ROMANCE BY SCHEDULE 

any and I asked if he coiiUln't hurry a little and then he 
got mad and I told him it was all his fault. And then I 
thought of all you girls here, all warm and jolly, eating my 
wedding cake, and of the ginger pop, and me running away 
from it all, when I didn't especially want to go anyway . . . 

Sue. You didn't ? 

Nora. No ... so I just laid down the oil can and 
the monkey-wrench and everything and grabbed my bag and 
ran home as fast as I could go . . . and here I am. Say 
has everybody had two pieces? (Mame nods and 
hands her another.) Anything to take that gasolene taste out 
of my mouth. 

Sue. Love's Labor Lost ! 

NoitA {^getting up and yazoning). Goodness, I'm crazy to 
get to bed. 

Mame. Oh, Nora . . . weren't you sweet to leave 
something for me under my pillow ? 1 haven't seen it yet. 

[Gets package from under bed ai i.. front.) 

Nora. Oh, yes . . . but now, you see, that I didn't 
go . . . why . . . er . . . 

Mame (^handing it to Nora). Take it back then . . . 
just tell me . . . was it your blue belt ? 

Nora. Yes . . . say, if you really want it, I . . . 

(^Hohis it toward her.) 

Mame. Never mind ... I don't want it. 

Nora. Of course, if you think . . . ? 

Mame (j-esignedly). You keep it. , . . It's all right. 

Sue. My mind still reverts to your poor deserted lover un- 
der the machine. 

Lucy (^turning sharply on Nora). Look here, Nora Lee 
you told us all once that your parents and Jimmie 
Simpson's parents were just crazy to have you marry eacli other. 
You said that your parents and his parents grew up togetlier 
and that they had settled that you were to be married as 
soon as yon both graduated. Now . . . why did you 
eloi)e? 

Nora {Jiotly). That's just it ! That cut and dried old 
schedule made by our parelits simply exasperated Jimmie and 
me and we decided to muss things up. You see, 1 liked Jim- 



ROMANCE BY SCHEDULE II 

rnie all right vvilhoiit having them arrange and approve and 
butt in tlie way they did. How would you like to be stuck in 
boarding-school having Latin and Botany . . . and all 
those tilings . . . forced on you until you were old enough 
to marry and then having your fate all picked out for you and 
waiting as certain as . . . as a ferry-boat. Jimmie doesn't 
like to have his family dictate to him, either, it was his idea 
to cut his Senior Year and all that law bunk they're trying to 
get him to swallow, and start life in earnest. Well, it's all over 
now ... 1 shall never marry. 

Mar. Listen . . . girls ! 

Mame. a whistle ... I 

Nora. Oh . . . it's Jimmie ! (^Goes to windozv and 
leans far out?) Oh, Jimmie ... is that you ? You go 
right away. . . . No, I won't. . . . I've changed 
my mind for good. Well, don't apologize. . . . It's all 
right . . . only . . . What? Well, I'll come down 
for just one minute. . . . Only one . . . mind ! 

\_Exit in lively manner out of windoiu. 

Sue {juith clasped hands . . . ecstatically). Girls 
tiiis is a crucial moment. Here are two souls work- 
ing out their own destiny . . . it is not for us to play ar- 
biter . . . it is not . 

Lucv. She's coming back ! 

Nora {climbing back into rooni). Oh, girls . . . we've 
]\xJ. got to get married now. You see his parents got his note 
and they rang up my parents, and they say it's awful the way 
we were out unciiaperoned together, and all that, you know, and 
they're all down there now in machines, with a minister, and 
they're waiting for me to come ! I think it's a shame keeping 
me up like this. I'm so sleepy. Parents are so funny. 

Sue {^^oiner close to her, earnestly, tragically). Nora . 
is he your real affinity? 

Nora. Heavens, I guess so. I'd hate to marry a stranger. 
Jimmie's all right. Well, good-bye. You can have the belt, 
Mame. Good-bye, girls. I'll write. {Slie is moving toward 
7vindo7v . . . hesitates, and conies back toward spread.) 
Oh, may I have a piece . . . for Jimmie? 

(Mame hands her a piece of cake. She starts out of window 
holding piece of cake carefully.) 

Mame. The rice . . . girls ! 



12 ROMANCE BY SCHliDULE 



(Phyl. gets bag of rice. All tliroiv it at Noka. She takes 
violets from her belt, throws them and Sue catches them. 
Excitement rages. She says good-bye from outside ; all 
cheer. Door opens and Smithy, glaring, indignant, 
grotesquely arrayed, stands there.') 



CURTAIN 



Plays That We Can Recommend 

Acts Males Females Tin 

COMEDY DRAMAS 

Bar Haven 3 

The College Chap 3 

The Country Doctor 4 

Country Folks 3 

The Country Minister 5 

Cranberry Corners 4 

The District Attorney 3 

Down in Maine 4 

Elmwood Foiks 3 

A Foul Tip 3 

How Jim Made Good 4 

Mrs. Tyler's Second 3 

Red Acre Farm 3 

Valley Farm 4 

The Village School^Ma'am 3 

Willowdale 3 

COMEDIES 

Daddy 3 

The Day That Lincoln Died i 

The King Pin (15c.) 3 

Lost — a Chaperon 3 

Miss Buzby's Boarders 3 

The Missing Miss Miller 3 

Out of Town 3 

Rebellion of Mrs. Barclay 2 

Sally Lunn 2 

A String of Pearls (15c.) i 

Team Work 3 

Teddy 3 

FARCES 

Alias Brown 3 

Caught Out (15c.) 3 

The Dutch Detective 3 

Engaged by Wednesday 3 

A Full House (15c.) i 

Gadsby's Girls 3 

Hiram Jones's Bet (15c.) i 

The Hoodoo . 3 

Local and Long Distance (15c.) i 

Our Wives . . 3 

Papa Pettingill (15c.) 4 

Pa's New Housekeeper (15c.) i 

Picking a Winner 3 

The Private Tutor 3 



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TEN BOYS' FARCES 

With an Introduction on impromptu Dramatics 

By Eustace M. Peixotto 
Tills very original collection of plays for boys is one of the most inter- 
esting books of its kind that we have ever oftcred, botli in its matter and 
in its origin. They are for boys and they are also largely by boys, hav- 
ing grown rather than been written, much as the Iliad was ; having been 
spoken many times until their form was satisfactory and then written 
down. They were thus originated in The Columbia Park Boys' Club, of 
San Francisco, and have all been many times acted— one of them, " Rosie, 
the Girl from Paris," having been presented several tliousand limes in 
public as well as in private since its beginnings in 1900. "The Last 
Rehearsal " has been performetl about two thousand times in this country 
and in Australia. The collection is offered with confidence that it is an 
adequate answer to that most diificult of all requests in this line — ♦' a good 

^ ^^ 1 y . Price, 2j cents 

CONTENTS 

Introduction. 

DiNG-A-LiNG. For six boys. 

The; Last Rehearsal. For six boys. 

RosiE, the Girl from Paris. For nine boys. 

The Teacher's Pet. For seven boys ; pupils ad libitum. 

Lost But Found. For eight boys. 

Political Promises. For six boys. 

When the Cat Is Away. For seven boys. 

The Evil That Men Do Lives After Them. For tliree boys. 

Chips Off the Old Block. For four boys. 

The Tramp Barbers. For seven boys. 

A TROUBLESOME FLOCK . 

A Mother Goose Play for Children 
By Elizabeth F. Giiptill 
Ten boys, fifteen girls. Mother Goose costumes ; scenery unimportant. 
Plays forty-five minutes. This welcome addition to the small list of 
Mother Goose entertainments can be given in any hall or schoolroom, no 
special setting beiiig required, and can easily be ]iresented by a smaller 
number than twenty-five ciiiidren, the full cast called for, by eliminating 
some parts. The music called for is printed with the songs in each case. 
Strongly recommended. 

Price, 25 cents 

THE DOLL THAT SAVED AN ARMY 

An Historical Play in Four Scenes 
By EdytJi M. Wormwood 
Twelve boys, six girls and as many soldiers as are desired. Costumes 
of the Revolution ; scenery, simple. Plays thirty minutes. Five char- 
acters may be eliminated by doubhng, making 't jiossible for thirteen 
children to give the play. Important papers are got to General Wash- 
ington's hands inside the doll of a jxitriotic American girl whose adven- 
tures constitute the action. Recommended. 
Price, /J cents 



plays for Colleges and High Schools 

AH Charley's Fault 

All Tangled Up 

The Blundering Mr. Brown 

A Box of Monkeys 

Chums (25c.) 

Class Day (25c.) 

A Class Day Conspiracy 

A Change of Heart (25c.) 

The College Ball (25c.) 

The Colonel's Maid (25c.) 

The Cool Collegians (25c.) 

The Deacon's Second Wife (25c.) 

The Elopement of Ellea (25c.) 

Half-Back Sandy (25c.) 

Her Busy Day 

The Hero of the Gridiron (25c.) 

Higbee of Harvard 

A Lion Among Ladies 

The Man from Brandon 

Me an' Otis 

The Mishaps of Minerva (25c.) 

Mose 

Mr. Bob 

Mr. Easyman*s Niece (25c.) 

Mrs. Briggs of the Poultry Yard ( 

Mrs. Compton's Manager 

My Cousin Tiramy 

My Lord in Livery 

Nephew or Uncle (250.; 

Old Acre Folks 

One of the Eight (25c.) 

Our Folks 

Out of Town (25c.) 

\ Rank Deception 

\ Regiment of Two (25c.) 

The Revenge of Shari=Hot-Su 

The Revolving Wedge 

A Rice Pudding (25c.) 

A Rival by Request 

Romantic Mary 

The Sisterhood of Bridget (25c.) 

The Snowball 

The Teaser (25c.) 

The Time of His Life (25c.) 

Tommy's Wife (25c.) 

Two College Tramps 

Up to Freddie 

Valley Farm (25 c.) 

Price, 15 Cents each unless otherwise stated 

BAKERj 5 Hamilton Place, Boston, Mass 





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4 


4 


i;^h 


Farce 


I 


3 


4 


30m 


Comedy 


4 


5 


4 


2h 


Farce 


2 


5 


8 


i>^h 


Comedy 


3 


II 


10 


i>^h 


« 


2 


3 


4 


i>^h 


Farce 


4 


6 


4 


2>^h 


25c.) Comedy 


3 


4 


7 


2h 


Comedy 


3 


7 


6 


2>^b 


" 


2 


2 


8 


Ih 


P'arce 


I 


4 


3 


45 m 


Comedy 


3 


8 


3 


2h 


«' 


2 


6 


4 


2h 


" 


4 


10 


4 


2'Ah 


Drama 


3 


6 


5 


2h 


Comedy 


3 


3 


5 


i>^h 


Farce 


2 


3 


3 


Ih 


« 


3 


6 


4 


2h 


Comedy 


2 


3 


4 


iXb 


Farce 


I 


5 


3 


Ih 


Comedy 


2 


2 


3 


iXb 


" 


3 


6 


5 


2>^h 


" 


3 


4 


4 


2h 


Farce 


3 


7 


6 


2h 


<i 


3 


4 


3 


2h 


Comedy 


3 


4 


3 


i>^h 


" 


3 


6 


3 


2h 


Farce-Comedy 


3 


3 


5 


i>^h 


« 


I 


2 


3 


20m 


« 


2 


3 


6 


iXh 


Drama 


4 


6 


6 


2>^h 



Plays That We Can Recommend 

j4cts Males Females Timt 

FOR FEMALE CHARAC lERS ONLY 

The Bewildering Miss Felicia 3 o 14 2%\\ 

A Case for Sbertoci< Holmes 2 o 10 i^h 

Cupid's Partner 3 o 12 2h 

The Farmerette 3 o 7 2h 

A Girl in a Thousand 4 o 14 2^h 

Her First Assignment (15c.) 1 o 10 ih 

How the Club was Formed (15c.) . . . i o 18 i^h 

How the Story Grew (15c ) i o 8 45m 

Leave It to Polly 2 o 11 lyih 

Lucia's Lover 3 o 8 i^^h 

Miss Fearless & Co 3 o 10 2^h 

Modern Sewing Society (15c.) i o 14 45m 

Our Church Fair 2 o 12 ij^h 

Packingof the Home Missionary Barrel (15c.) i o 10 30m 

Six Times Nine 2 o 11 lyih 

Suffragettes' Convention i i 12 i^h 

Suffragettes' Town Meeting i o 20 ih 

Virginia Heroine 3 o 11 1%'h 

Voice of Authority 3 o 7 2h 

FOR MALE CHARACTERS ONLY 

The Boy Scouts 3 20 o 2h 

First Day of the Holidays (15c.) 4 6 o i^h 

First National Boot (15c.) 2 7 2 ih 

Half Back's Interference ( 15c.) i 10 o 40m 

A New Start (15c.) 4 7 2 i>^h 

On the Quiet 2 12 o i^h 

A Regular Rah! Rah! Boy 3 14 o i^h 

A Regular Scream 2 11 o i%h. 

Too Clever by Half (15c.) 3 6 2 i%\\ 

Tramps' Convention i 17 o ij^h 

The Turn in the Road (15c.) 2 9 o ij^h 

Wanted, a Pitcher (15c.) i 11 o 30m 

ENTERTAINMENTS 

Aunt Jerusba's Quilting Party 1 4 12 ih 

The District School i 12 17 ili 

Miss Prim's Kindergarten i 10 11 ly^h. 

A Pageant of History 6 15 9 2|^h 

Scenes in the Union Depot 1 24 18 i|^h 

Taking the Census in Bingville i 14 S i>^h 

The Village Post-Office i 22 20 2h 

Price, 2J cents each unless otherzvise stated 

BAKER, 5 Hamilton Place, Boston, Mass. 



n* m. Pincro's Plays 

Price, SO 0e:it5 €acb 



Min PHANNFT Play in Four Acts. Six males, five females. 
1'111'"vO/\1111IjLi Costumes, modern; scenery, three interiors. 
Piays two and a half hours. 

THE NOTORIOUS MRS. EBBSMITH ll^r%Tt 

males, five feni.ilea. Costumes, modern; scenery, all interiors. 
Plays a full evening. 

mPROFIir'ATP Play in Four Acts. Seven males, five 
1 IxWrLilVJlrVl £i females. Seenery, three interiors, rather 
•laborate ; costumes, modern. Plays a full eveuing. 

THF QPHnni MIQTRFQQ Farcein Three Acts. Ninemales, 
1 nij OV/llVfULilTllO 1 IVEiijiJ seven females. Costumes, mod- 
ern; scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY ^lirlZsXe 

females. Costiunes, modern; scenery, three interiors. Plays a 
full evening. 

QWFFT I AVFNnFR Comedyln Three Acts. Seven males, 
OTTEiEiI Li/W£ini/£<IV four females. Scene, a single interior, 
costumes, modern. Plays a f uU evening. 

TlIF THITMnFPRniT Comedy in Four Acts. Ten males, 
inC IflUlli/EiIVDULil nine females. Scenery, three interi- 
ors; costumes, modern. Plays a full evening. 

TlIF TIMFQ Comedy in Four Acts. Six males, seven females. 
iriC lilTlEiO Scene. a single interior; costumes, modern. Plays 
a full evening. 

TlIF WF A VFR QF Y Comedy in Three Acts. Eight males, 
1 flEi W EiAIVCIV OCiA. eight females. Costumes, modern ; 
scenery, two interiors. Plays a full evsning. 

A WIFE WITHOUT A SMILE ^^etl^^,fI^rflJkZ. 

Costumes, modern ; scene, a single interior. Plays a full evening. 

Sent prepaid on receipt of price by 

Walttv ?|. pafeer & Company 

No. 5 Hamilton Place, Boston, Massachusetts 



LIBRARY OF CONGRESS 



Cf)e S^ilUam Wwcx o 01 ? 4oo 947 s 
of ^lapfii 



A^ Vflll I KV IT Comedy in Five Acts. Thirteen males, four 
AS IvU LflAC II females. Costnmes, picturesque ; scenery, va- 
ried. Plays a full evening. 

PAMIIIF JOrama in Five Acts. Nine males, five females. Cos- 
vAilllLfL<[< tnmes, modern ; scenery, varied. Plays a full evening. 

INAAMAD I*^y ''i Five Acts. Thirteen males, three females. 
inUUniiUV Scenery varied ; costumes, Greek. Plays a full evening. 

MADV ^TIIADT Tragedy in Five Acts. Thirteen males, four fe- 
IflAI\l J 1 1) Am males, and supernumeraries. Costumes, of the 
period ; scenery, varied and elaborate. Plays a full evening. 

TflE MERCHANT OF VENICE SXt^h^ef/etnl^el: Irris" 

picturesque ; scenery varied. Plays a full evening. 

DimPI IFF] ^^y ^^ ^^* Acts. Fifteen males, two females. Bcen- 
I\IVUI<MI<U ery elaborate ; costumes of the period. Plays a full 
evening. 

THF RIVAI S Comedy in Five Acts. Nine males, five females. 



(all evening. 



Scenery varied ; costumes of the period. Plays a 



SHE STOOPS TO CONQUER ^X"f foi? ffm^^ef "Icen^/^T^ 

lied ; costumes of the period. Plays a full evening. 

TWELFTH NIGHT; OR, WHAT YOU WILL iX'/en'^ml^eV. 

three females. Costumes, picturesque ; scenery, varied. Plays a 
full evening. 



Sent prepaid on receipt of price by 

Salter ^. OBafeer S, Company 

No. 5 Hamilton Place, Boston, Massachusetts 

S. J. PARKHILL a CO., PRINTERS. BOSTON. U.S.A. 



